Clanging Bells, Clanging Words: Iwate Dialect in Miyazawa Kenji's "Changa Chaga Umako" Tanka Series

Transcription

1 Portland State University PDXScholar World Languages and Literatures Faculty Publications and Presentations World Languages and Literatures Clanging Bells, Clanging Words: Iwate Dialect in Miyazawa Kenji's "Changa Chaga Umako" Tanka Series Jon P. Holt Portland State University, Let us know how access to this document benefits you. Follow this and additional works at: Part of the Japanese Studies Commons Citation Details Holt, Jon P., "Clanging Bells, Clanging Words: Iwate Dialect in Miyazawa Kenji's "Changa Chaga Umako" Tanka Series" (2012). World Languages and Literatures Faculty Publications and Presentations. Paper This Presentation is brought to you for free and open access. It has been accepted for inclusion in World Languages and Literatures Faculty Publications and Presentations by an authorized administrator of PDXScholar. For more information, please contact

2 Clanging Bells, Clanging Words: Iwate Dialect in Miyazawa Kenji s Changa Chaga Umako Tanka Series Jon Holt Portland State University 2012 Associa8on of Japanese Literary Studies Annual Mee8ng Rhetoric and Region: The Local Determinants of Literary Expression The Ohio State University October 14, 2012

3 Miyazawa Kenji ( ) Born in the town of Hanamaki, Iwate Prefecture. Lived most of his life in Hanamaki Hanamaki City, circa 1910

4 Miyazawa Kenji ( ) Educated in Morioka City, capital of Iwate- ken (a bit north of Hanamaki city) Kenji as a young student in Morioka Morioka Agricultural and Forestry Higher School (MAFHS) in the 1910s

5 The Idea of a Regional Home Hoyt Long s view of Miyazawa Kenji s Iihatovu (On Uneven Ground)

6 The Idea of a Regional Home Hoyt Long s view of Miyazawa Kenji s Iihatovu (On Uneven Ground)

7 The Idea of a Regional Home Hoyt Long s view of Miyazawa Kenji s Iihatovu (On Uneven Ground, 2011)

8 Kenji s Tanka Period Roughly ten years from 1911 to 1921 Gives up the form, begins wri8ng shi (à mental sketches ) à 1924 collec8on, Spring and Asura (Haru to shura) Began to seriously compose at MAFHS, wri8ng for coterie magazine Azelea (Azaria) Azelea Friends Hosaka Kanai Miyazawa Kenji Kawamoto Y., Kosuga K.

9 Kenji s Tanka Period First issue of Azelea: 1917, the year of the Fes8val poems (they run in issue #1) Strong interest in rensaku January of that year, his longest rensaku to date, the Hinoki (Cypress) Days. A series of 16 poems wricen across 7 (+1?) days from January 1st through the 7th

10 Changa Chaga Umako Fes8val Morioka, Iwate- ken Fes8val. Morioka people call it Chagu- Chagu Umako Tradi8onally was held on the 5th day of the 5th month. (S8ll prac8ced. Now à mid- June) Celebrates Horse Culture of which Nanbu- han (Iwate- ken and surrounding regions) Small children ride horses and parade through Morioka streets from Hachimangu Shrine to downtown Morioka (seat of Nanbu- han)

11 Changa Chaga Umako Fes8val

12 Kenji s Changa Chaga Umako Tanka 4 tanka poems wricen in Iwate dialect (Iwate- ben) Originally 8 poems in Azalea, later compiled (reduced) in a Song Manuscript (Kakô) by Kenji in 1920, perhaps with inten8on to formally publish, but he never did.

13 Changa Chaga Umako, Poem 1 夜明けには まだ間あるのに 下の橋 ちやんがちやがうまこ見さ出はたひと Though we s8ll got 8me before dawn at Shimo- no- Hashi Bridge People already out to see the Changa- Chaga Lil Riders From a four- tanka sequence (from 大正６年5月より) Shin Miyazawa Kenji kashû, edited by Kurihara Atsushi and Sugiura Shizuka (Sôkyû Shorin, 2006) 92

14 Changa Chaga Umako, Poem [1] 夜の間から ぢやんがぢやがうまこ 見るべとて 下の橋には いつぱい人立つ From the crack of dawn Changa- Chaga Lil Riders Thinking ah d go see em but at Shimo- no- Hashi Bridge there s a bunch of people standin Alternate version of poem 1, found in Azelea (from the original eight- poem rensaku)

15 Changa Chaga Umako, Poem 2 ほんのぴやこ 夜明けががつた雲のいろ ちやんがちやがうまこ 橋渡て来る The color of clouds turned just a bit now with the dawn and Changa- Chaga Lil Riders come a- crossin the bridge

16 Changa Chaga Umako, Poem 3 いしよけめに ちやんがちやがうまこはせでげば 夜明げの為が 泣ぐあいよな気もす With al lem s might Changa- Chaga Lil Riders come out chargin so meybe it s cause it s dawn but ah m feelin like ah m gonna cry

17 Changa Chaga Umako, Poem [3] いしよけめに ちやんがちやがうまこはせでげば 夜明げの為が 泣ぐ ai よな気もす With al lem s might Changa- Chaga Lil Riders come out chargin so meybe it s cause it s dawn but ah m feelin like ah m gonna cry

18 Orthographical Strategies in Eiketsu no asa (early 1920s)

19 Orthographical Strategies in Eiketsu no asa (early 1920s)

20 Changa Chaga Umako, Poem 4 下の橋 ちやんがちやがうまこ見さ出はた みんなのながさ おどともまざり At Shimo- no- Hashi Bridge mixed in them all who came out to see Changa- Chaga Lil Riders there s my lil brother, too

21 Other Celebra8ons of Iwate Culture in Kenji s 1917 tanka (and later poetry) Open men8ons Iwate places even in early poetry and prose Nanatsumori Hills (Morioka area) Nakatsugawa River (Morioka) Hara- kentai- ren Warrior Dances (former Esashi county)

22 Haratai- Kenbai- Ren (Sword Dancers of Haratai)

23 Ide- Kenbai- Ren (Sword Dancers of [Esashi]), 1917 Hara- kentai- bu Warrior Dances (Ide village, part of Esashi county) 剣舞の 赤ひたたれは きらめきて うす月しめる地にひるがえる Red robes of the Sword Dancers glow and flap on the ground against a swath of pale moonlight From a three- tanka sequence, 上伊手剣舞連 (from 大正６年７月より) Shin Miyazawa Kenji kashû, edited by Kurihara Atsushi and Sugiura Shizuka (Sôkyû Shorin, 2006) 102

24 Sword Dancers of [Esashi], tanka #2 (1917) うす月に むらがり踊る剣舞の 異形きらめきにこころ乱れぬ In faint moonlight my heart flucers at the glow given off by the Sword Troupe all dancing together

25 Sword Dancers of Haratai [Esashi], 1923 shi 原体剣舞連 (mental sketch modified) dah- dah- dah- dah- dah- sko- dah- dah.. Well known shi in Spring and Asura collec8on

26 Sword Dancers of Haratai [Esashi], 1923 shi 原体剣舞連 (mental sketch modified) dah- dah- dah- dah- dah- sko- dah- dah こんや異装のげん月のした 鶏の黒尾を頭巾にかざり 片刃の太刀をひらめかす 原体村の舞子たちよ dah- dah- dah- dah- dah- sko- dah- dah under the mysterious and strange costumed moon tonight decorated with headdresses of black chicken tailfeathers You Dancers! You who brandish the one- handed swords of Haratai Village!

27 Conclusions What the use of dialect tells us about Kenji s works Da8ng Kenji s early regional moves Reconsidering Kenji s Worldview à Cosmic View I welcome your comments and suggeseons joholt@pdx.edu Thank you!